In what's coming to be aregularfeatureof thisblog, I
find myself writing about American hate groups, fascists, and their
cinematic depictions. Today's film happens to be written by Thomas Dixon, Jr., whose early novels celebrated hate and formed the basis for the racist, denialist 1915 epic THE BIRTH OF A NATION, which casts the Ku Klux Klan as the heroic saviors of the South during the "dark days" of Reconstruction.

However, sometime in the 1930s (upon witnessing the revived Klan and the rise of European fascism) Dixon underwent an apparent evolution of character. In NATION AFLAME, his final work, he delivers a formidable condemnation of the Klan, American Nazism, xenophobia, and political hucksterism that's more than worthy of our attention in 2017. If Thomas Dixon's mind can be changed––a mind that was directly responsible for the second wave of the Klan in the 1920s––then truly the sky is the limit: NATION AFLAME is as remarkable in this aspect as it would be if Steve Bannon were suddenly to produce a film denouncing the white nationalist movement.

Allow me to begin by offering a rundown of the plot, which unfolds with the simplicity of a fable across a slim, 74-minute runtime.

Enter: Roland Adams, the political huckster. A rich, aging clown-prince who has a certain way with crowds, and rules them with the wave of his jester-faced scepter: he wears the absurdity of this persona as a badge of pride.
With his eldest daughter reining in his more outrageous peccadillos, Adams once was Mayor of a typical middle-American city.
Against his daughter's wishes, however, he has made some dangerous friends; career criminals who know that the the huckster's power over the uneducated mob can be exploited, a fast lane to power and riches. His new right hand man is an Italian immigrant named Sandino who has re-fashioned himself as "Sands," and, in a believably hypocritical path to personal agency, becomes a true master of the xenophobic rhetoric that was once leveled against his friends and family.
He becomes Adams' brain, his attack-dog, his Richelieu. Adams' daughter has very little power over him now, though it pleases her to pretend. Sands and Adams make their xenophobic, "America First" pitch at a political cocktail party, and while it fails to impress the intelligentsia, the seeds are planted for a Populist campaign. The following clip is well worth watching:
And so the Avenging Angels are formed; a "grassroots" organization subsidized by gangsters and protected by corrupt politicians, whose members wear black hoods (patterned after the Black Legion and the second-wave Klan) and commit acts of political, racial, and anti-intellectual violence.
Sands lays out their mission in a manner that is straightforward and unfortunately prescient:

"The only way that we can save the youth of our nation is to organize them in one single group, and through them, enforce the precepts of 100% Americanism! Corruption and politics must go! Civic virtue and patriotism must be our goals! We must enforce a reverence for our flag and our Constitution! And what is more, protect our American womanhood, and guard the sanctity of our homes! We must guarantee that the wealth of America must be shared only by real Americans! To maintain and declare absolute boycott against foreigners is our only salvation!"

We are treated to extensive scenes of Adams, Sands, and their cronies practicing their bluster as an acting exercise, repeating the same lines over and over again until they feel they've attained the proper patriotic fervency."Boy, the suckers will eat it up!" says Adams. And they do. The gang is able to enrich themselves financially and politically, selling Avenging Angels memberships and apparel for $25 a pop."For twenty-five dollars, be true Americans!"

It should come as no surprise that Adams rides this wave of hate to ascend to a fresh political office: the Governorship. Under his rule, and amid a mosaic of domestic terrorism, the Avenging Angels beat to death reporters who dare to criticize them.
Now Governor Adams has the Oval Office in his sights, an idea planted by Sands, who grows more power-hungry by the day. Sands doesn't care much about the scandals and inquiries piling up at the Governor's doorstep, because he operates in secrecy and will still wield the full power of the Avenging Angels no matter Adams' fate. Adams' daughter makes regular visits to his office in an attempt to save his soul:"Daddy, I'd rather see you resign than be impeached," she says...

But Sands always visits afterward, and the Governor happens to be the kind of man to take the advice he's heard most recently.
With political opponents closing in, Adams eventually decides to buck his gang and forge his own path. This, unfortunately, is short-lived as he is immediately assassinated by Avenging Angels who, at Sands' insistence, believe he has betrayed them.
Governor Adams is dead, his jester-faced scepter smashed. And the power of the Angels lives on, vindicated by the destruction of those who were not pure enough; those who were less than "100% American."

Adams' daughter aligns herself with the Angels' progressive foes and is burned in effigy amid growing misogynistic rhetoric.
Fearing her reputation already ruined, she sacrifices her remaining stature to take out Sands, entrapping him in a sex scandal that, in 1937, proves to be enough to sink the Avenging Angels for good. The end.
For me, NATION AFLAME film can only reframe Dixon's body of work, not rehabilitate it. However, like other films of the era such as BLACK LEGION and LEGION OF TERROR, it is very much the product of 1930s American Progressivism, fearful of fascist movements in Germany, Italy, and Spain worming their way into the American South and Midwest. That it comes to us courtesy of a man who never would have described himself as a progressive, and in fact publicly wore the mantle of "white supremacist," is staggering. I suppose this is evidence that even the harshest, most monstrous ideologue can have a breaking point: a crisis of conscience. This is something we must bear in mind.

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Details of Note

Junta Juleil Productions, LTD. is a Brooklyn-based film and theatre production collective founded by Sean Gill, filmmaker and playwright. Junta Juleil's Culture Shock is a film blog dedicated to forgotten and occasionally cheesy genre fare. For more about Sean Gill, visit:
Sean Gill Films.